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Elmer Cat
Benjamin Balas
Kimo Johnson
Aude Oliva
Shayian Keshvari
Jianhua Li
Benjamin Wolfe
Siyuan Dong
Shaoxiong Wang
Dian Yu
Wenzhen Yuan
Zhendong Zhang
Bei Xiao
Krista Ehinger
Xuetao Zhang
Derya Akkayanak
Phillip Isola
Rui Li
All Alumni
The Perceptual Science Group of the Department of Brain and Cognitive Sciences at MIT does research in human vision, machine vision, human-computer interaction, and touch sensing for robotics. Both the Adelson Lab and the Rosenholtz Lab are part of the Computer Science and Artificial Intelligence Lab (CSAIL), located in the Stata Center.
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Welcome to WordPress. This is your first post. Edit or delete it, then start writing!
[youtube http://www.youtube.com/watch?v=vgHAJCpQacc?rel=0]
[youtube http://www.youtube.com/watch?v=lrrAQRgeFs0?rel=0]
This page has examples of the different Soundcloud players, along with the code used for each player. A list of supported parameters for player options is at the bottom of the page, but not all parameters work with every player.
[sourcecode wraplines=”true” light=”true”]
[/sourcecode]
[sourcecode wraplines=”true” light=”true”]
[/sourcecode]
[sourcecode wraplines=”true” light=”true”]
[/sourcecode]
[sourcecode wraplines=”true” light=”true”]
[/sourcecode]
Not all parameters work with every kind of player.
color | hex code | Color play button and other controls. e.g. “0066CC” |
theme_color | hex code | Color player background etc. |
text_buy_track | String | e.g. Tweet and it points to your buy link |
text_buy_set | String | e.g. Tweet and it points to your buy link |
text_download_track | String | e.g. Get it and it points to your download link |
buying | true/false | Show/Hide buy buttons |
sharing | true/false | Show/Hide share buttons |
download | true/false | Show/Hide download buttons |
show_bpm | true/false | Show/Hide bpm display in player |
show_playcount | true/false | Show/Hide number of track plays |
start_track | Number | A number from 0 to the playlist length. preselects a track in a playlist |
default_width | Number | A number e.g. 400. Overrides the player’s autoscale, useful when embedding in other flash movies |
default_height | Number | A number e.g. 500. Overrides the player’s autoscale, useful when embedding in other flash movies |
font | String | A string e.g. “Arial”. Overrides the default font with system font |
enable_api | true/false | Enable the JavaScript API callbacks |
single_active | true/false | if set to false the multiple players on the page won’t toggle each other off when playing |
show_user | true/false | Show or hide the uploader name, useful e.g. in tiny players to save space) |
auto_play | true/false | |
show_artwork | true/false | |
show_playcount | true/false | |
show_bpm | true/false | |
show_comments | true/false |
In the 1960’s, New York Telephone had an excellent “standard voice” for all of their recorded announcements. Unfortunately, I don’t know what her real name was, but it is known that she worked for the Owen Murphy production company. Evan Doorbell’s “Sounds of Long Distance – Part 6” includes a master copy of the vacant code recording which was sent to central offices throughout the state:
I’m sorry, we are unable to complete your call as dialed. Please check the number and dial again, or ask your operator for assistance. This is a recording.
(to replay, click the X)
I always loved her musical voice, and place it only second to the great Jane Barbe. Besides the “vacant code” recording, she did beautiful versions of “all circuits busy”, “machine intercept” and of course, her legendary “permanent signal” recording:
I’m sorry. All circuits are busy now. Will you try your call again later, please? This is a recording.
(to replay, click the X)
I’m sorry. Your call did not go through. Will you please hang up and try again? This is a recording.
(to replay, click the X)
I’m sorry. The number you have reached is not in service or temporarily disconnected. The number you have reached is not in service at this time. This is a recording.
(to replay, click the X)
This is a recording. Please hang up. There are penalties for leaving appears to be a receiver off the hook. Please check your main telephone and extension. Then try your call again. Thank you.
(to replay, click the X)
Though I don’t know her name, I believe I do know what she looked like. An old Bell System promotional film entitled “The Town and the Telephone” produced by the Owen Murphy company features a short clip of a woman calling Directory Assistance Information to get the new number of Wilson’s meat market:
The new number is WRight-5-6240
The movie has no credits for the actors, but she certainly sounds like the same voice, don’t you think? Here’s a mash-up of New York Telephone recordings against the movie clip as an additional comparison:
At first that number seemed odd to me; the Phone Company typically used “555” (e.g.: KLondike-5) for fictitious phone numbers in movies or on TV, so as to avoid anyone’s real phone number getting flooded with nuisance calls. The exchange name “WRight” would also be prone to misdials (e.g.: RIght-5) if used for a real-life central office. However, a recent post by the famous telephone (and movie) historian, Mark Cuccia, explains that before they settled on “555”, a few other prefixes were also specifically not assigned to subscribers including “975” (WRight-5).
My dad worked for a hotel; for many years he was the chief engineer who kept everything working. Years before, my uncle Norm was the manager there; my grandmother had worked there for a while; both of my sisters worked there at one time or another; and of course, I would eventually work there too.
When I was in third grade my sister, Susie, was working the front desk on Thanksgiving Day. My mom packed up a plate of food for her, and I brought it downtown to her on the Fifth Avenue bus. I was immediately enthralled by the switchboard, a Western Electric Model 551. The hotel wasn’t very busy on Thanksgiving, so Susie taught me how to run the switchboard!
I was just eight years old, but because I was so fascinated by the switchboard, I learned it very quick and soon could run the board better than the regular front desk staff (who basically hated the switchboard to begin with). Most of them were very happy to let me play with the switchboard while they took a break. That was nearly fifty years ago, and is just the very beginning of what became a diverse PBX operating career that spanned decades.
A perfect day for dancing in the streets!